2012 Wavefront Music Festival


Arriving on site was a completely different experience from the night before. There was a crowd pacing to get in and around the lines that had formed at the front gate; the hustle and bustle had arrived and at that moment it sunk in that a music festival was going down. Friday night was very casual and definitely felt like a “pre-party.” The beach was much livelier now that both stages were up and running. Security was also in full force, dressed in riot gear and going about their business. I never saw them hassle anyone for anything but it was a strange thing to encounter when we first entered. If that was the first thing people saw when they entered the grounds, it may have given off the wrong message. I’m not exactly sure who they were expecting to show up, but they seemed prepared for anything. We arrived on time to catch Visionquest head honchos Ryan Crosson, Lee Curtiss, and Shaun Reeves in action and start off the festival with some light tropical sounds. It was a decent set but you could tell it was reserved and that they were saving tracks for their set later in the day at Smart Bar. They handed off to Toronto favorites Art Department who may have delivered the finest performance of the entire festival. They were aggressive from the beginning and offered up everything from fuzzy techno tracks to heavy deep house cuts. It was surprising but at the same time, it wasn’t. It’s hard to argue with these guys on the track choices, they are on their game at all times. They closed up with Matthew Dekay & Lee Burridge’s powerful 2012 track “Für Die Liebe” and gave way to Matthew Dear who changed things up and raised the bpm’s while delivering a quirkier, techier brand of house. He performed a DJ set and gave a peek into who his influences were and what he enjoyed most. It was a progressive set that was also accessible for the beach audience. Nic Fanciulli raised the bar and delivered loud, chunky, aggressive tech house beats that riled up the audience for headliner Boys Noize. By far, he had the biggest audience of the day with a set that featured fireworks and pyrotechnics. I soaked in about ten minutes before I could not handle anymore, it just wasn’t my thing. His aggressive style felt forced and leaving early to change for Art Department and Visionquest became a reality. The audience was loving it however, so to each his own. Day One: accomplished.

Visionquest (Lee Curtiss, Ryan Crosson, and Shaun Reeves)
Art Department
Matthew Dear

Nic Fanciulli

Boys Noize
Photo by Tamara Susa

Saturday Night Afterparty: Visionquest & Art Department at Smart Bar

Ryan Crosson

We picked up our passes and got our hands stamped early in anticipation of an enormous headache of a line. The prediction came true as the show was sold out with a line down the street by 11:00 P.M. (that only happens a few times a year at Smart Bar). What I really enjoy about going there is that even during a sold-out show like this one, there is still room to breathe so you are not getting jabbed repeatedly throughout the night. Visionquest brought a livelier set that showcased what they are famous for. They rotated again and played various tracks ranging from Kompakt artist Terranova to Daft Punk’s “Around The World.” It was a diverse set that spanned across several record labels and put their versatility on display. They entertained the audience for hours until Art Department arrived for their closing set late in the evening. They maintained their aggressive attitude from earlier in the day and opened with Scuba’s “The Hope,” setting the tone for an exhilarating set that maintained the high-powered energy and strong foundation put on by Crosson, Curtiss, and Reeves. This was one of those nights where it was easy to slam a drink and try to find a dance floor partner in the sea of bodies; the party ended when the house lights came on. People were getting loose and enjoying themselves. Between the music and energy from the crowd, it was a powerful statement on why both groups have garnered such praise from fans and critics alike. Both have broad range, and are always evolving, not afraid to take chances and try new things in the process. The audience appeared satisfied and in the end, that is probably the best barometer on a job well done.

Shaun Reeves
Lee Curtiss

Art Department

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Jeremy Frazier is the editor-in-chief of Soundfuse.